Jean Berger is the most documented painter of New France and yet none of his works exist to-day.Jean Berger, peintre et complice? by Professor François-Marc Gagnon presents all the written documentation relating to this figure, especially the transcripts of the long trial wherein he was accused of publicly assaulting the apothecary Claude Sainte-Olive. Each document written in the French language of the time is presented with accompanying notes. A striking image of Montreal during this period (1700-1710) emerges from these sources.
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A comprehensive overview, this volume embraces painting, sculpture, photography, design, video, and conceptual and cross-disciplinary art, as well as studies of art institutions and historiography. With such a remarkable scope, it is truly the first of its kind ever published. Each chapter explores the richness and diversity of Canadian art; topics range from impressionist painting to the multimedia work of First Nations artists, and from the Group of Seven to contemporary video production.
2010 Douglas & McIntyre
Inuit Modern: Masterworks from the Samuel and Esther Sarick Collection
Edited by Gerald McMaster
Heather Igloliorte. "The Inuit of Our Imagination"
A gorgeous retrospective on the transformation of Inuit art in the 20th century, mirroring the vast and poignant cultural changes in the North.
In response to a rapidly changing Arctic environment, Inuit have had to cope with the transition from a traditional lifestyle to the disturbing realities of globalization and climate change. Inuit art in the latter half of the 20th century reflects the reciprocal stimulus of contact with Euro-Canadians and embodies the evolution of a modern Inuit aesthetic that springs from an ancient cultural context, creating an exciting new hybridized art form.
Edited by Rhona Richman Kenneally and Johanne Sloan
Expo 67, the world's fair held in Montreal during the summer of 1967, brought architecture, art, design, and technology together into a glittering modern package. Heralding the ideal city of the future to its visitors, the Expo site was perceived by critics as a laboratory for urban and architectural design as well as for cultural exchange, intended to enhance global understanding and international cooperation. This collection of essays brings new critical perspectives to Expo 67, an event that left behind a significant material and imaginative legacy.